8vo. (237 x 151 mm). [41 leaves including blanks and 3 hors-texte plates; pp. xlv, (i)]. Leaf with half-title and publication note verso, leaf with dedication 'Affectionately dedicated to C[harles]. H[azelwood]. S[hannon].' recto, verso and following recto with 'The Story' in red, verso with title and Moore's verse recto and verso with running title, side-notes and pagination in red throughout and illustrated with three full-page hors-texte woodcut plates by Ricketts, final leaf with colophon recto; in the present copy gathering 'b' is discoloured. Original publisher's full vellum pierced for thongs, spine with gilt rules to form six compartments with title gilt at head. [PROVENANCE: Bookplate of Laurence Hodson, printed at the Kelmscott Press, to front pastedown]. Laurence Hodson's copy on vellum of 'Danaë', the last book sold by Hacon & Ricketts. From the edition limited to 240 copies with this one of 10 printed on vellum. Thomas Sturge Moore (1870 - 1944), he added the 'Sturge' (his middle and his mother's maiden name) to distinguish himself from another poet named Thomas Moore, was an English poet, artist and author. His long poem 'Danaë' was first published (there is a note to this effect in the book) in 'The Dial', also the work of Ricketts, in 1893 before its first separate appearance here. 'Danaë', printed in Ricketts' favoured Kings type, is also notable as the last book published by the Vale Press before the type and matrices were thrown into the Thames; Cobden-Sanderson cast his own Doves type into the Thames on the closure of his own press in 1916 / 1917. 'Ricketts gave Moore 'a laughing commission to lengthen it' as he judges it not long enough to make the book he had in view'. Ricketts asked that the additions be 'all golden syrup' . In the prefatory summary . Moore describes the poem as like a dream with 'no fixed order or progress': 'it begins and begins again and is broken off rather than ended'.' (Maureen Watry). Ricketts' woodcuts are titled in red as follows: 'In polisht walls a sister found is kissed.'; 'She kneels in awe beholding lavish light.'; 'Danaë at her twilit lattice ponders.'. Hodson's bookplate, with the text 'FROM THE LIBRARY OF / LAURENCE W. HODSON, / COMPTON HALL, NEAR / WOLVERHAMPTON', was one of the very few - for Morris, Burne-Jones, Walker and select patrons - printed at the Kelmscott Press in Golden type on Batchelor paper (see Peterson D10). [Watry B43].
Small folio. (330 x 245 mm). [9 unnumbered bifolia]. Illustrated with original drypoint frontispiece by Picasso, signed in pencil. Loose as issued in arches wove wrappers, additional marbled parchment wrapper and additional printed papier de boucher dust-jacket and original coarse-weave cloth chemise with Iliazd's monogram to spine and matching slipcase. liazd's and Picasso?s homage - their final collaboration - to the painter Niko Pirosmanachvili. From the edition limited to 78 copies on japon ancien, signed on the justification by Iliazd in pencil and with Picasso's signed drypoint frontispiece. 'In 1912, the brothers Kyril and Ilia Zdanevitch and their friend, Michel Ledentu, all three fervent Futurists, met the painter Niko Pirosmanachvili. Shocked by the misery in which the artist lived and eager to draw attention to his exceptional talents, Ilia published a sort of manifesto about Pirosmanachvili's art in a local paper in 1914. In the summer of 1971, nearly 60 years after their meeting, Iliazd decided to reprint this article as a loyal tribute to his long unrecognised friend . Iliazd prepared a small copperplate hoping that Picasso would consent to engrave a frontispiece. On February 21, 1972 he went to see Picasso at Mougins, and the artist made for him a remarkable, idealized portrait of the Georgian painter in drypoint .' (Cramer). [Cramer 154].
8vo. (210 x 138 mm). [35 leaves including frontis. on inserted leaf; pp. 64, (i), (i), (i)]. Leaf with title verso, leaf with wood-engraved colour frontispiece ('Women and Roses') with colour border and Browning's verse on following leaves with large decorative 9-line initial in red for each poem (10 in total), leaf with 'Contents' verso, leaf with colophon and final leaf with justification; printed text in red and black throughout, the frontispiece and initials by Lucien Pissarro and engraved on wood by Esther Pissarro. Full dark chocolate crushed morocco by Zaehnsdorf with signature gilt and dated 1905, boards ruled in gilt to surround a wide inset border of green morocco with gilt and red floral and gilt foliate tools, banded spine in six compartments with inlaid sections of green morocco and gilt and red floral tools and gilt title, trun-in swith gilt decorative border with foliate decor, thick green doublures and endpapers, board edges ruled in gilt, original blue paper-backed decorative 'Wild Rose' printed paper boards with gilt title preserved, a.e.g., later brown cloth box with gilt title to spine. The Eragny Press edition of Browning in a beautiful binding by Zaehnsdorf. From the edition limited to 209 copies, with this one of 200 on paper. This copy with an inscription in sepia ink (badly faded and only partially legible) beneath the frontispiece: 'I bought this for myself . M. M. . 1905'. This beautiful edition caused the Pissarros much trouble: with the paper, printing, bindings and finally, with sales. Lane, selling the edition in America, thought it expensive but there, at least, it did well and he took 50 copies. 'In March 1904. Lucien and Esther were getting ready to begin the Browning. Robert Steele selected the poems . '. (Marcella Genz). [Genz EP20].
8vo. (214 x 146 mm). [22 leaves; pp. 44]. Title and first leaf of text with elaborate decorative woodcut border, woodcut device of the Eragny Press and six-line decorative woodcut initial, Ronsard's text in French with elaborate decorative floral woodcut head- and tail-pieces throughout and six-line initial letters all designed by Lucien Pissarro and engraved by Esther Pissarro, final leaf verso with justification and colophon. Full polished calf by Sangorski & Sutcliffe (see below), boards with elaborate gilt and colour floral and foliate tools at corners, boards with elaborate gilt rules, gilt title to upper section of front board, banded spine ruled in gilt and with gilt title in six compartments, turn-insruled in gilt, handmade patterned paper pastedowns and endpapers, a.e.g., later brown morocco-edged cloth board slipcase. The Eragny Press edition of Ronsard's 'Abregé [sic] de l'Art Poétique François'. From the edition limited to 226 copies, all on paper. Although the binding for the present copy is unsigned, a pencil note attributes it to Sangorski & Sutcliffe. With a presentation inscription in blue ink to initial blank: 'M. Dodderidge / from B. G. Palmer / 1952, Milan. 'Printing began 10 January 1903 and ended 10 February 1903. The Pissarros were frantically trying to finish printing 'Abrégé'. Lucien sent a completed copy to Camille on 16 March 1903. Camille found the book to be very successful . '. (Marcella Genz). [Genz EP15].
4to. (257 x 200 mm). [2 leaves]. Letter with typed text on two leaves of laid paper with the watermark 'Krypton Linen' recto only, second sheet with signatures in black or green ink (see below), sheets numbered '1' at foot and '2' at head and stapled at upper left. A fascinating letter concerning 'an attempt of the German Authorities to enlist the support of British Artists in the cause of Nazi Propaganda' and illustrating the increasing effect of 'Entartete Kunst'. Dated 18th December, 1936 ( the date altered from the 8th), and addressed to 'The Editor' of the 'News Chronicle', this typed letter, signed by - among others - Augustus John, Duncan Grant and Jacob Epstein, is concerned with the 'invitation' circulating among 'British Artists' to participate 'in an Exhibition of Contemporary British Painting in Berlin'. The letter continues, expressing concern for the treatment of German artists (Hitler's rise to power saw the prescription or exile of German artists considered degenerate and the removal of their works from museums) as well as the work of British artists (Modernism was rejected as degenerate in all its forms): 'In view of the fact that so many German Artists are now suffering in exile, in view of the treatment of the work of several British Artists which prior to the Nazi regime was hung in German Galleries, and in view of the recent decree which bans all art criticism in Germany, may we ask all British Artists to do their utmost to check this naive attempt to disguise propaganda as a love of culture.' The letter concludes with a nod to the 'London group', 'who were invited subject to the exclusion of 'certain works which could not be accepted for political reasons'' and who had already 'officially rejected the invitation'! Composed against the background of rising repression of the arts - the first Entartete Kunst exhibition was held in Germany the following year, 1937 - this expression of solidarity among fellow artists is signed on the second leaf by Ethelbert White, Duncan Grant, James Fitton, Charles Guinness, Augustus John, Jacob Epstein and Matthew Smith. The change in date of the letter - altered in green ink from '8' to '18' - although possibly a typing error, appears most likely a deliberate postponement due to the abdication crisis which occupied many column inches in the first ten days of 1936 (Edward VIII's abdication was reported in the News Chronicle on Friday 11th); rather than dilute the impact of their letter, it appears that the signatories decided to delay its publication and the letter was published without revision (save the capitalisation of the 'g' in 'London Group'), the first in that day's letters column, under the heading 'German Invitation to British Artists'.
8vo. (217 x 152 mm). [74 leaves: 4 blank leaves, 66 leaves with text and illustration, 4 blank leaves; pp. 105, (iii)]. Half-title with justification verso, printed title with pictorial colour woodcut decoration, 12 hors-texte original colour woodcut plates by Camille Pissarro each initialed 'CP' in the plates, 9 colour woodcut head- and tail-pieces and ten-line initials by Lucien Pissarro after Camille Pissarro, monochrome woodcut head-piece to 'Table des Matières', colophon leaf with woodcut Eragny Press device to verso; woodcut text ornaments throughout. Text and plates printed by Lucien and Esther Pissarro at the Eragny Press. Original publisher's limp apple calf, gilt title and gilt apple vignette to upper right of front cover, limp pinkish calf doublures with elaborate decorative scheme of gilt rules surrounding a field of matching gilt apple tools, suite loose in paper wrapper, later green paper-lined black morocco box by Alain Lobstein with his signature gilt, boards and spine with decorative foliate tools, title gilt to spine. One of the finest Eragny productions - Pissarro's second commission and, all in all, his finest book - a superb copy in the original limp apple calf and with the additional signed suite on Chine. From the edition limited to 116 copies, this copy printed for M. L. Comar; the separate suite of the 43 plates and and head- and tail-pieces, loose in a paper wrapper, is on Chine and each is initialled and numbered by Lucien Pissarro in pencil. The binding for the present copy is in an excellent state of preservation although the paper endpapers are toned as usual from contact with the light pink doublures. 'L'illustration hors texte de ce livre a été spécialement dessinée par Camille Pissarro pour être gravée par son fils Lucien Pissarro lequel, chargé d'orner le texte et désireux d'y maintenir l'unité de décoration, y a, dans ce but, adapté le plus souvent possible des croquis de son père. Toutes les gravures sur bois ont été exécutées par Lucien et Esther Pissarro . '. (From the achevé d'imprimer). 'My father Camille Pissarro was always greatly interested in my books. He planned with me a book to deal with country work. For this purpose he designed 12 compositions to be engraved on wood in chiaroscuro. Unfortunately he died before all the blocks were engraved, but he had seen two of them and this gave me the clue to the rest . '. (Lucien Pissarro). 'Lucien regretted that his father had not lived to see the completion of their project, but he felt that he had been able to complete it as Camille Pissarro would have wished . '. (Fern pg. 68). [Genz EP31; Tomkinson Eragny 31; Ashmolean 47; The Artist and the Book 247].
Oblong 4to. (215 x 320 mm). [50 unnumbered leaves including blanks]. Half-title, original aquatint with 'arabesque' title, leaf with justification in Russian verso, leaf with justification in French, leaf with title in French verso, leaf with title in Russian, leaf with original aquatint with second 'arabesque' and Iliazd's verse in Russian in double columns illustrated with 4 engravings with burin by Picasso, final leaf with achevé d'imprimer in Russian. Loose as issued in original publisher's printed parchment wrappers over card boards with title in black to upper cover, original tan patterned paper board chemise and matching slipcase with label with 'ILIAZD / PICASSO' in blue ink to edge. The first of Iliazd's beautiful and typographically inventive illustrated books and the first he produced with Picasso. From the edition limited to 64 copies on 'Montval à la cuve', signed by Picasso and Iliazd in pencil. 'Afat was the first of nine books Iliazd and Picasso collaborated on. All of them were published under the imprint of 'Degré Quarante et Un', a name Iliazd chose in memory of a school of futurist poetry called the 'University of the 41º', which he had founded in Tiflis in 1917 . Afat is a collection of 76 sonnets in Russian by Iliazd, the majority of which were written between January and June, 1938. In his poems, Iliazd writes of love, of feminine beauty, of the poet's difficult métier and the hidden meaning of words. Three sonnets are about the poet's relationship to 'Pablo' (Picasso).' (Patrick Cramer). 'Afat . contained features that would become signature elements of his work. The book was structured as a whole . The sequencing and number of pages were ordered by a mathematical scheme. The image was not linked to directly to the text, thematically or physically, and the interaction produced a dialogue rather than subordinating one to the other as illustration and / or caption. The sequence of blank sheets, title, half title, and justification of the edition were laid out symmetrically so that the closing of the book echoed the opening . The typographic style was restrained, and the pages produce subtle equilibrium instead of dynamic activity - no confusion, no clamor, no crowding, no elaborate display faces. The sole decoration on the cover was the stamped title, Afat (a term that invokes unhappiness / and / or beauty that causes it) rendered in kufic . With this work, Iliazd's architectural approach to book structure, with strong emphasis on symmetry and balance, made its appearance.' (Johanna Drucker). [Cramer 33; see see Johanna Drucker's 'Iliazd - A Meta-Biography of a Modernist', 2020, pp. 146 - 147].
8vo. (236 x 172 mm). [92 leaves including blanks; pp. 163, (i)]. Title, half-title in red with two gilt initials by Hewitt, leaf with 'Personen' and 'Erster' to 'Fuenfter Aufzug' of Goethe's drama with 5 further decorative gilt initials by Hewitt, final leaf with justification verso; printed text in German in red and black throughout, side-notes, headline, act and scene details and characters in red with 7 four- and three-line initials by Graily Hewitt in gilt. Original pumpkin morocco by Cobden-Sanderson at the Doves Bindery with gilt signature to rear pastedown as usual, boards with gilt border to surround smaller gilt tooled rectangles, banded spine ruled in gilt with gilt title in six compartments, turn-ins ruled in gilt, a.e.g., later matching morocco-edged cloth slipcase. [PROVENANCE: Bookplate with woodcut vignette of M. Weiss to front pastedown; small gold rectangular label to rear pastedown with the text 'Philip C. Duschner / Rare Books / 757 Madison Avenue . &c.']. The Doves Press edition Goethe's 'Torquato Tasso' on vellum with gilt initials supplied by Graily Hewitt. From the edition limited to 227 copies, with this one of 12 on vellum with gilt initials by Graily Hewitt; 15 additional copies were printed on vellum (with printed initials) as well as the 200 on paper. Goethe's verse drama 'Torquato Tasso' (written during the 1780s and completed in 1790) takes as its subject the final descent into madness of Tasso (1540 - 1595), author of the epic poem 'La Gerusalemme Liberata' (first published in 1581). The Doves binding for the present copy, signed as usual to the rear turn-in by Cobden-Sanderson 'THE DOVES BINDERY / 19 C-S 13', has been repaired: the hinges have been reinforced and the spine repaired, particularly at the head and foot. [Tidcombe DP31; Tomkinson 34].
4 vols. Folio. (312 x 232 mm). Series title ('The King's Library'), leaf with elaborate engraved pictorial series title and publisher's note verso, printed title in red and black with engraved portrait vignette of Bishop Percy, leaf with justification verso, leaf with title 'The Percy Folio', leaf with contents for each vol. and printed verse throughout, final blank where applicable. Full polished milk chocolate calf by Donnelley of Chicago with their signature gilt to pull-off case, banded spines with gilt titles in six compartments, turn-ins and board edges ruled in gilt, matching morocco wool-lined pull-off cases with banded spines with gilt titles. The de la More edition of the highly important Percy Folio on vellum. From the edition limited to 325 copies, with this unnumbered copy 1 of 5 printed on vellum; the remaining 325 copies were issued on hand-made paper. Issued as part of the King's Classics series and under the general editorship of Professor Israel Gollancz, this four volume edition was the fourth title published by Alexander Morning de la More Press. Thomas Percy (1729 - 1811), Bishop of Dromore, is noteworthy as a friend of Johnson and Boswell, the translator of the first full length Chinese novel to be published in English and as a saviour and promoter of old English verse. The famed 'Percy Folio', a seventeenth century transcription of contemporary and earlier sources for ballads, songs and romances (among the earliest are those from the twelfth century) and a crucial source for English poetry includes the Middle English 'Death and Liffe', Arthurian texts including some not found elsewhere, tales of Robin Hood and 'Scottish Feilde' about the Battle of Flodden Field. Bishop Percy made use of the folio to compile his 'Reliques of Ancient Poetry' (1765); the folio was used by Francis Child for his own 'The English and Scottish Popular Ballads' (1883). The full contents of the folio - as here - were not published in full until 1867.
2 volumes. In 1. Folio. (505 x 390 mm). Frontispiece, title with engraved vignette, dedication with engraved head- and tail-pieces to King George (George I who died in 1727), advertisement leaf, list of plates, list of subscriber's (pp. x) and 52 engraved plates numbered 1 - 73, of which five are large fold-outs and take four numbers each, and 7 double-page taking 2 numbers each; Vol.II - title with engraved vignette, list of plates (pp. vi) and 45 engraved plates numbered 1 - 63, of which 18 are double-page and take 2 numbers each; two small tape repairs to frontispiece recto, some leaves slightly toned as often. Contemporary French red morocco, boards with triple gilt rules, banded spine with gilt decoration and tooling with green morocco label with gilt title in eight compartments, turn-ins with roll tool border, board edges ruled in gilt, marbled endpapers, a.e.g. [PROVENANCE: Discrete bookplate of Baron Alexis de Redé to front pastedown]. An outstanding example of the first edition of the published works of Inigo Jones in contemporary French red morocco. Essentially based on the Jones-Webb collection of architectural drawings purchased by Lord Burlington in the early 1720s, this book provides extensive coverage of Jones's designs for the Banqueting House in Whitehall and various smaller projects. The work gives much space to the designs by Jones and Webb for Whitehall Palace as a whole (without acknowledging that they are in fact mainly by Webb) and adds to the drawings from this source four plates based on Palladio's drawings for S. Giorgio in Venice (which Burlington had also acquired). There are, in addition, a large number of plates illustrating buildings designed by Lord Burlington himself, notably Chiswick House and the Westminster School dormitory. The whole forms a splendid record of Jones's work and of Burlington's reinterpretation of Palladio and Jones for his own time. ''The Designs of Inigo Jones' was a significant feature in Burlington's campaign to establish a new standard of taste in England: the first . in a series of visual exemplars . It was published again as late as 1770, with an additional perspective view of the Whitehall Palace.' (Millard). The allegorical frontispiece by William Kent, frequently lacking, is present here. The subscribers' leaf lists more than 350 (several ordering multiple copies), and includes 18 Dukes and 22 Earls, one of whom was Lord Burlington, the commissioner of the work who ordered 12 sets. Other notable subscribers were Christopher Wren, Nicholas Hawksmoor, Colen Campbell, Isaac Ware, Paul Fourdrinier (listed as Fourdriener), Sir Robert Walpole and Hans Sloane; there is no clear French candidate as a subscriber for the present copy. The bookplate to the front pastedown is that of Baron Alexis de Redé (1922 - 2004). Born Oskar Dieter Alex von Rosenberg in Zurich (he inherited his title on the death of his brother in 1942), de Redé was an Austro-Hungarian banker, aesthete, collector and socialite known for exquisite taste, opulent hospitality and legendary balls. Dubbed 'La Pompadour de nos jours' by Nancy Mitford, de Redé lived for over 50 years in an apartment at the Hôtel Lambert on the Isle de Saint-Louis in Paris, and after they bought it in the late 1970s he shared the house with Marie-Hélène - with whom he threw balls at the Château de Ferrières - and Guy de Rothschild. de Redé's copy of 'The Designs of Inigo Jones' passed to the Rothschilds on his death in 2004. [Millard 34; Fowler 162].
8vo. (207 x 148 mm). [16 leaves; pp. (i), 26, (i)]. Leaf with title and Tolstoy's text with large 11-line initial in red in English in red and black throughout, final leaf with colophon with Ashendene press mark recto; printed text in Fell English type. Original publisher's blue printed paper wrappers with Yapp edges, titles to front cover in black, some creasing to wrappers. The scarce Christmas Ashendene translation of Tolstoy. From the edition limited to c.200 copies on paper. Printed at Essex House, Chelsea (see colophon), 'Where God Is Love Is', was issued 'With All Good Wishes for a Merry Christmas and a Happy New Year from St. John and Cecily Hornby' 'for their friends whom God preserve this Christmastide'. Also included, inserted loose, is a letter with envelope from Hornby to a 'Miss Crane' on a single sheet of paper with his letterhead ('From C. H. St J. Hornby, Shelley House, Chelsea Embankment &.') and dated '19 April 1926'. Hornby invites miss Crane to 'come here and see my Press on Thursday next Aprill 22. at 5 o'clock', he also proposes some other dates fitting with his travels. Finally he concludes by giving directions: 'This house is on the river front, but the door is just on the corner of Embankment Gardens - (nearest tube Station Sloane Square.)'. [Hornby 'Minor Pieces' IX].
8vo. (224 x 150 mm). pp. ix, (i), 207. Half-title with printer's credit verso, title, leaf with dedication to Thomas Chatterton, two leaves with Keats' 'Preface', leaf with five-line errata and 'Book I' to 'Book IV' of Keats' verse with section title to each 'Book'; several leaves retain uncut deckle edges at foot and outer edges. Full green crushed morocco by Rivière & Son with their signature gilt, boards with triple gilt ruled borders, banded spine with gilt decoration, floral tools and gilt title in 6 compartments, turn-ins with elaborate decorative borders, board edges ruled in gilt, marbled pastedowns and endpapers, later matching green morocco-edged cloth board slipcase. The first edition of Keats' 'Endymion'. 'Endymion' was John Keats' second book, dedicated to Thomas Chatterton, who like Keats and Shelley and Byron, epitomised the Romantic ideal with their precocious talents and tragic early deaths. 'Endymion' was received badly by contemporary reviewers and it has been argued that it contributed to Keats' death from tuberculosis. Indeed, the reviews for 'Endymion' caused Byron to write: 'Tis strange the mind, that very fiery particle / Should let itself be snuffed out by an article'. (Don Juan, Canto 2, Stanze 60). Shelley defended Keats also, attributing Keats' early death directly to the reception of 'Endymion', in his introduction to 'Adonais', published in the year of Keats' death, 1821. This tall copy with many sheets retaining deckle edges at foot is from the second issue with the printer's credit reading 'T. Miller, Printer, Noble street, Cheapside' and with the five-line errata. 'A thing of beauty is a joy for ever: / Its loveliness increase . '. (The opening lines of Endymion). [MacGillivray A2].
8vo. (208 x 136 mm). [41 leaves including blanks; pp. 59, (iii)]. Leaf with presentation (see below), leaf with dedication, title printed in red and black with circular wood-engraved colour vignette by Lucien Pissarro, explanatory leaf, first leaf of text with elaborate wood-engraved border in black, four-line initial in red and larger nine-line decorative initial in red, decorative initials and side-notes in red throughout, musical notation in black on red staves, two leaves with contents and errata and colophon verso, four blank leaves. Decoration and initials by Esther Pissarro after Lucien Pisarro. Full burgundy morocco by Blackwell with their discreet stamp to front free endpaper verso, banded spine with title gilt in six compartments, turn-ins ruled in gilt with gilt decorative floral corner-pieces, matching burgundy morocco-edged scarlet cloth slipcase. [PROVENANCE: Presentation from the Pissarros to Joseph Manuel Andreini (the dedicatee), with his bookplate pasted to front free endpaper verso; bookplate of Norman J. Sondheim to front pastedown]. The dedication copy of the Eragny 'Songs by Ben Jonson' on vellum. From the edition limited to 185 copies, with this, the dedication copy, one of ten printed on vellum; with a presentation in black ink from the Pissarros to the dedicatee J. M. Andreini: 'From Esther Pissarro & / Lucien Pissarro / to / J[oseph]. M[anuel]. Andreini'. A beautiful Eragny book, the 'Songs' makes use of printed music - Jonson wrote airs, ballads and madrigals - with the notes in black against red staves using type designed by Lucien Pissarro. As an initial note makes clear, some of the clefs - the originals are supplied - required alteration to render a harmonious, modern form: ' . it has been found more convenient to change the clefs to the clef of 'G'.' Emery Walker described the book to Esther Pissarro as 'a beautiful specimen' and in reference, in particular, to the music: ' . I think it is the prettiest specimen of modern music typography I have seen'. A senior member of the Wall Street banking firm of Lawrence Turnure and Co., Joseph Manuel Andreini (1850 - 1932) was, in addition, a bibliophile and a member of the Grolier and Rowfant Clubs. Andreini, who developed a warm friendship with the Pissarros (as evinced by the dedication in the present volume) had a standing order for every book published by the Eragny Press. In 1907, a year after the publication of the 'Songs', Lucien Pissarro designed Andreini's illustrated bookplate. The book was owned subsequently by Norman J. Sondheim (1914 - 2011), a Harvard-educated bibliophile whose collection, it included a Kelmscott Chaucer among other notable rarities, was sold by Swann Galleries in 2012. 'The book was dedicated to J. M. Andreini, a New York lawyer and book collector, who had been very helpful tot he Pissarros in their American ventures. Andreini received a vellum copy [this vellum copy] of the work and replied to the Pissarros, 'It is certainly very complimentary to dedicate B. Jonson's to me and I trust you have all the success with it which I wish you. It is a handsome book and I hope American collectors will appreciate it.' (Marcella Genz). [Genz EP26; Ransom 25; Tomkinson 26].
Large 8vo. (234 x 168 mm). [102 leaves; pp. 203]. Title, leaf with explanation, verso and following leaves with contents, leaf with title in red and sonnet 'Bright star!' verso and Keats' verse, two leaves with 'Table of Years', final leaf with colophon recto. Printed text in red and black throughout, sheet size: 230 x 162 mm. Full scarlet crushed morocco by Frieda Thiersch with her signature gilt, boards with double gilt rules, banded spine with elaborate tooled decoration with title 'KEATS / 1815 - 1820' and dated 'MCMXIV' in six compartments, large turn-ins with gilt tools and rules to surround vellum doublures, board edges ruled in gilt, morocco-edged wool-lined marbled board slipcase. [PROVENANCE: From the collection of scholar and bibliophile Dr. Ernst Kyriss (1881 - 1974), with his discreet oval stamp to front free endpaper; Achilles Foundation, the collection of Edith and Barbara Achilles]. A very scarce copy of the vellum issue of the Doves Press' Keats in a highly accomplished binding of red morocco by Frieda Thiersch. From the edition limited to 212 copies, with this one of 12 examples printed on vellum. Apprenticed to the binder Charles McLeish who described her as the 'most skillful pupil we ever had . equal to any professional', Frieda Thiersch (1889 - 1947) was a prodigy: a highly talented, innovative and controversial binder. The daughter of a distinguished Munich-based architect, Frieda had a privileged upbringing before her seduction by her music master Ludwig Hess for a bet; the ensuing pregnancy caused her banishment to France for the birth of her child to avoid scandal. After the birth she was sent to London where she undertook an apprenticeship at McLeish & Sons that led to their endorsement and laid the foundations for her future as a binder. Thiersch clearly absorbed, along with the binding skills and knowledge of the McLeishs, the influence of the Doves Bindery: Charles McLeish Sr. had worked with Cobden-Sanderson from 1893 until the establishment of his own bindery in 1909. The austere but beautiful work with the emphasis on simple clarity with a highly restrained decor became a feature of Thiersch's own work and the signature of the many bindings designed by her and issued by the Bremer Press - she worked as the principal designer and her atelier was the principal bindery for the press - before the worsening economic situation in the late 1920s / early 1930s caused the press to close. Throughout the time she worked with the Bremer Press, Thiersch took commissions in her own right as the present binding, signed with her full name as opposed to her initials (when produced by an assistant) and likely produced in the late 1920s, attests. Thiersch exhibited her work internationally and showed books at the First Edition Club in London in 1929 (it is tempting to think that this binding was shown there), the World Exhibition in Barcelona in the same year, the Milan Triennale in 1930, 1933 and 1936 where she was awarded a gold medal and the Paris World Exhibition in 1937 where she was awarded another gold medal. Later in the 1930s Thiersch became associated with the German political establishment and undertook government contracts for the Nazis. Although she did execute personal commissions for, among others, Hitler, her own political views have never been established. The destruction of her archive and personal collection in a bombing raid in 1944, her death from lung cancer in 1947 and the confusion of the Second World War itself have ensured that both an aura of mystery has surrounded her work while adhering a considerable bibliophile cachet to it. Although Thiersch's bindings for the Bremer Presse are prized, even more so are the bindings that she undertook on commission. We can trace few of these, but notable examples are the luxusausgabe of 'Das Graphische Werk Max Pechsteins' (1921), Johanne Auerbach's 'Summa de Auditione Confessionis et de Sacramentis' (the second or third book printed in Augsburg probably in 1469 or 1470), Georg Martin Richter's unique copy of Thomas Mann's 'Walsengenblut' (1921) and Franz Liszt's copy of the first edition of Baudelaire's 'Les Paradis Artificiels' with a presentation from the author among others. [Tidcombe DP36; Tomkinson 58, 45].
PICASSO, Pablo. Tzara, Tristan.
Small folio. (328 x 258 mm). pp. 124. Half-title, printed title with original lithograph illumination, copyright verso and the 4 sections of Tzara's text in verse and prose illustrated with 8 full-page original lithographs in black by Picasso, 3 leaves with 'Table' and final leaf with justification and achevé d'imprimer verso; also included loose is the additional suite of all of the lithographs on Japon. Original publisher's printed paper wrappers with flaps, artist's and author's names in black to front cover and publisher's and details to rear, additional vellum jacket with flaps and printed titles to front cover. The édition de tête of Tzara's collection with a suite of Picasso's finger-drawn lithographs on Japon and with the additional vellum jacket. From the edition limited to 350 copies, with this one of 30 on Hollande Van Gelder Zonen signed by the author and artist and with the additional suite of the plates on Japon Impérial paper; the 300 copies issued on Arches and the 20 hors commerce copies on Alfa Mousse were initialled by Tzara only. For Tzara's four-section collection (the sections are 'Le Temps Détruit', 'Le Déserteur', 'Le Boeuf sur la Langue' and 'Le Poids du Monde'), Picasso drew the illustrations directly and spontaneously on the lithographic stone with his finger. Although Tzara had been specific in what illustration he desired, the lithographs he produced for the book were ultimately Picasso's own. The illustration for the title does not feature printed text in the suite. 'This great poem, which is in both verse and prose, and which is formed of four parts, was written by Tzara between 1946 and 1949. To some degree the poem represents the sum of the poet's experiences . Although Picasso agreed to illustrate the poem, he kept putting off the work. He finally got around to it when Mourlot paid him a visit at Vallauris on April 16, 1950. This same day he made the cover for the second volume of Picasso Lithographe as well as the 9 lithographs for De Mémoire d'Homme, using a somewhat unusual procedure; he dipped his painting finger into the lithographic ink, and then drew flora and fauna designs, which are at once familiar and strange; he then marked their contours with lithographic chalk.' (Patrick Cramer). [Cramer 59; Berggruen 35].
DOVES PRESS. EMERSON, Ralph Waldo.
8vo. (235 x 170 mm). [164 leaves including blanks; pp. 311, (i)]. Leaf with printed title recto, five leaves with Thomas Carlyle's preface recto and verso, leaf with list of contents and Emerson's twelve essays, each with four-line initial in red, final leaf of text with colophon verso. (Sheet size: 234 x 166 mm). Original publisher's limp vellum with stamped signature to rear pastedown: 'THE DOVES BINDERY', paper endpapers and pastedowns, title gilt to spine. A fine copy on vellum of Emerson's Essays, the only American text printed at the Doves Press. From the edition limited to 325 copies, with this one of 25 on vellum. 'Cobden-Sanderson had actually met Emerson once when Emerson was visiting London in the 1860s. In a presentation copy of the Doves edition of the Essays, Cobden-Sanderson wrote that they were printed in memory of a conversation he had had with Emerson as they walked together down Pall Mall. Cobden-Sanderson was attracted to Emerson's idealism, and to the hint of mysticism that coloured his view of nature. In Cobden-Sanderson's mind Emerson was 'a pinncale of a man'. The Essays, issued in June 1906, were printed from the first English edition, with a preface by Carlyle. It was the first Doves Press book in which Miller and Richard's Old Style italic was used. '. (Tidcombe). [Tidcombe DP8; see Ransom, Doves 9].
BROODTHAERS, Marcel.
Small folio. (325 x 250 mm). [76 leaves]. Blank leaf, leaf with reproduction in red and black with vignette portrait of the title of Baudelaire's 'Oeuvres Complètes', leaf with section title 'Sur la Belgique', leaf with printed frame reproducing the page size of Baudelaire's 'Oeuvres Complètes' with subtitle 'Pauvre Belgique' recto, verso with reproduction of page 1318 of same with frame and headline 'Pauvre Belgique' and without text and 70 leaves (pp. 1319 - 1457) with frame and headline 'De la Belgique' recto and 'Pauvre Belgique' verso, all without text, final leaf with list of works by the Bibliothèque de la Pléiade verso, blank leaf and final leaf with 'Note' and justification. Original publisher's white printed wrappers with titles in black to front and rear covers, Broodthaers' copyright to inner rear wrapper, additional semi-opaque glassine jacket with printed titles 'ABCABCABCABCA' masking the title 'PAUVRE BELGIQUE' of the wrappers. An excellent copy of Marcel Broodthaers' scarce gnomic artist book based on Charles Baudelaire's criticism of Belgium. From the edition limited to 44 copies on papier d'épreuve, with this one of 40 numbered examples, signed and dated 'Bruxelles, le 26 Septembre 74. M. B.' and numbered by Broodthaers in black ink; four lettered copies were also issued. In this artist book, like others in Broodthaers' oeuvre - Dumas' 'Vingt Ans Après' or the words of Mallarmé for 'Un Coup de Dès N'abolira Jamais le Hasard' - Broodthaers' concern is with and of a found text. Charles Baudelaire's highly critical 'Pauvre Belgique' was begun in June 1864 but was never published during his lifetime (extracts were issued in 1887 in 'Le Progrès') and did not appear until 1952. Scathing in regard to Belgium, its people, their habits and outlook, Baudelaire's text has been assumed to reflect more on his own state of mind and misery than on Belgium itself but it certainly appears that Broodthaers' choice of text indicates a certain seriousness in his own attitude to it. In Broodthaers' version, Charles Baudelaire remains the author, the title remains the same and the work gives every appearance of being a large paper reprint of the Bibliothèque de la Pléiade edition of Baudelaire's 'Oeuvres Complètes' (or at least a part of it) complete with the title in red and black, the vignette of Baudelaire nand even the paper used. That appearance dissolves when one turns the pages further, only to find that although each page includes the frame of the original, the page number and the running headline, the text has been removed in its entirety; the nullification continues throughout, even to the final page (also in red and black) listing other works issued by the Bibliothèque de la Pléaide. In addition, although the front and rear covers are printed with the titles as per the book, Broodthaers has added a glassine jacket with a central printed title of its own 'ABCABCABCABCA' which, when in place, effaces the title of Baudelaire's work. Broodthaers' final flourish is to give the book fictitious places of publication: Paris for the front cover, New York for the rear; the book was, as per the justification, printed at the expense of ('pour le compte de') Herman Daled, Yves Gevaert and Paul Lebeer, all three resident in Brussels. 'L'on ne peut définir ce livre comme une contrefaçon / telle qu'elle fut d'usage courant chez les éditeurs bruxellois / pendant la période romantique. / Si contrefaçon, il y a, elle se trouve être une référence / dont la forme particulière renvoie aux polémiques actuelles / dépassant un cadre géographique précis. / C'est tout au moins, ce que j'ai visé.' (Marcel Broodthaers 'NOTE' to the justification). [Jamar 42; Werner 19; Ceuleers 43; see Artists Who Make Books pp. 51 - 52].
ERNST, Max. Eluard, Paul.
4to. (250 x 190 mm). [22 leaves; pp. 43, (i)]. Half-title with monochrome frontispiece by Ernst verso, printed title and Eluard's text illustrated with twenty monochrome plates after collages by Ernst, final leaf verso with advertisement and achevé d'imprimer. Original publisher's printed wrappers with titles to front cover in black. Iliazd's presentation copy - with a double presentation from both Max Ernst and Paul Eluard - of the first edition of the seminal collaboration marking the boundary between dada and Surrealism. From the small edition of unknown size on simili-japon with a presentation in black ink in both the hands of Max Ernst and Paul Eluard to the half-title: 'à / Ilja Zdanévitch / Les malheurs des immortels [printed half-title] / avant et après que je l'ai / connu / Max Ernst / 27. déc. 23 / Paul Eluard / dans la 29e année / de sa vie'. Iliazd (Ilia Zdanevich or, as here, Ilja Zdanévitch, 1894 - 1975) was a Georgian-born avant-garde Russian Futurist poet and after he emigrated to France in 1921, a publisher, a typographer and the impresario for arguably the most beautiful books made in the twentieth century. After his arrival in Paris, Iliazd moved in determinedly avant-garde circles, participating in, while maintaining a distance from, dada events, publications and manifestations. The presentation from Ernst and Eluard, 'Les Malheurs des Immortels' was their second collaboration after 'Répétitions' published earlier in the year, is particularly moving as all remained friends throughout all of their lives. Iliazd published his book 'Un Soupçon' with verse by Eluard in homage to his deceased friend the poet and with Max Ernst, he made his masterpiece and magnum opus, '(65) Maximiliana ou l'Exercise Illégal de l'Astronomie'. This first edition of 1922 - which was issued in very small numbers - of 'Les Malheurs des Immortels' matches Paul Eluard's prose poems with Max Ernst's 'synthetic' collages. Each poem is faced with one collage. The final leaf verso features an advertisement for Ernst and Eluard's previous text / collage collaboration 'Repetitions' which was published earlier in the same year. 'Ce livre d'étroite collaboration peintre-poète est un des jalons majeurs du livre au vingtième siècle . Pour Werner Spies ('La Révolution Surréaliste', 2002) le livre exprime une 'rupture visible du monde objectif, matérialisée par les images', rupture entre les plans sémantiques qui est aussi réciprocité, où la 'consience bicéphale' donne une coordination précise au texte et aux paires collage-texte . Les thèmes des collages des 'Malheurs des Immortels', incluent des métamorphoses hoome-animal, des parties vivantes animant des machines, les éléments (air, eau . ) mêlés, ou la tension électrique, mécanique ou érotique . L'importance de ces collages est soulignée par le fait que c'est essentiellement grâce à eux que le groupe surréaliste naissant prit conscience des possibilités plastiques du surréalisme.' (De Parallèlement à Chanson Complète). A second edition in smaller format was published by Editions de la Revue Fontaine, also in Paris, in 1945; the first edition in English was published by the Black Sun Press in New York in 1943. A German edition was published in Cologne by Galerie der Spiegel in 1960. [see 'De Parallèlement à Chanson Complète', pp. 167 - 174].
SIC. Birot, Pierre-Albert (Directeur).
54 issues in 40 vols. 4to. (282 x 225 mm). Single issues with four pages, double numbers of eight pages and triple numbers of twelve pages (the memorial issue for Apollinaire is thirty-two pages): printed text and illustration throughout, with the hors texte plate with pochoir colour 'Tapis de Martine' by Alice Rutty in issue 7. Original publisher's wrappers as issued, with Albert-Birot's device 'SIC' to covers where applicable, issues 26 - 34 with 'SIC' replaced with a reproduction of a work of art. The scarce complete series - with the majority of issues from the édition de tête - of the avant garde review SIC. The limitations of the tirage de luxe of SIC were as follows: Nos 1-12 in 10 examples on Japon; Nos 13 -24 in 6 examples vieux Japon; Nos 25 - 36 in 6 examples on Chine; Nos 37 - 54 in 4 examples on Chine. In the present set, all issues from no. 12 onwards are from the deluxe issue; the first 11 numbers are printed on the standard edition paper. Founded by the poet, painter, sculptor, publisher and typographer Pierre Albert-Birot (1876 - 1967) in 1916, SIC, with its focus on the avant garde was one of the most influential literary, musical and artistic periodicals of the period. From issue number two, Albert-Birot was aided by Gino Severini and in issue number 7, Apollinaire makes his first - but by no means his last - appearance with the poem 'Deux lacs nègres . '; Apollinaire continued to contribute until his death in 1918 and the triple issue 37 / 38 / 39 was 'composé en mémoire de Guillaume Apollinaire'. Of particular note is the fact that SIC sought to represent the whole of the avant garde and promoted Cubism, Futurism, dada, with Tzara contributing regularly, as well as contributions from Breton, Aragon and others who would develop Surrealism. The main contributors were: Apollinaire, Cocteau, Cendrars, de Drieu, Roch Grey (Hélène d'Oettingen), Léonard Pieux (the same), Paul Dermée, Raymond Radiguet, La Rochelle, Max Jacob, Tzara, Albert-Birot, Aragon, Breton, Picabia, Soupault, Paul Reverdy, and André Salmon. Poems, art essays and literature with woodcuts and illustrations by Chana Orloff, Gino Severini, Boussingault, Balla, Depero, Prampolini, Survage, Picabia, Picasso, Matisse, Serge Férat, Ossip Zadkine, Irène Lagut, and others. 'I had absolutely no intention that my review should be a demolition exercise, the war was looking after destruction, I believed on the contrary that the times demanded that one should only think of constructing and more especially that, from the point of view of art, when you bring forward new tendencies obsolete ideas disappear of their own accord.' (Pierre-Albert Birot). [Le Fonds Paul Destribats 65; Ades I.36].
IBELS, Toulouse-Lautrec, Vallotton, Hermann-Paul, Vuillard, Willette et al. Darien, Georges. (Dir.).
11 issues. Folio. (396 x 294 mm). [4 leaves per issue]. Each issue with title and cover illustration, printed text in French throughout and advertisements to rear cover and with 33 illustrations by Toulouse-Lautrec, Bonnard, Ibels, Willette, Vallotton, Hermann-Paul and others. Later burgundy cloth-backed marbled paper boards, original publisher's printed illustrated wrappers preserved. An excellent, complete set of the very scarce fin-de-siècle illustrated revue 'L'Escarmouche' with additional important ephemera and original material. Directed by Georges Darien, the writer, satirist and artist, the anarchist 'L'Escarmouche' was short-lived even by the standards of the day, appearing weekly for only three short months from November 1893 to January 1894 (a very rare final number, included here, was issued as an afterthought and without illustration apart from the cover by Ibels, in March 1894). Noted rather more for its illustration than any literary merit, 'LEscarmouche' featured covers by Henri-Gabriel Ibels (4), René Georges Hermann-Paul (5) and Félix Vallotton (1). The illustration, fine and typical examples from the French fin-de-siècle, features 12 lithographs by Henri de Toulouse-Lautrec. Artistic contributors to the revue also included Louis Anquetin, Pierre Bonnard, Henri-Gabriel Ibels, René Georges Hermann-Paul, Félix Vallotton, and Adolphe Willette. Also included, inserted loose, is the following additional material: - the original 'affiche' for 'L'Escarmouche' by Ibels (650 x 485 mm), a large colour lithograph showing the interior of a bar with the patrons turned to watch soldiers marching past outside (the image was reduced and printed in black for the cover of issue no. 1); - the reproduction of the same from 'Les Maîtres de l'Affiche'; - the catalogue for Ibels' first exhibition in 1894 which includes many of the drawings that appeared in 'L'Escarmouche'; - Ibels' carte de visite with some lines in manuscript; - Ibels' letter dated Janvier 1906 to Achille Astre (Gustave Geffroy's secretary); - the manuscript for Arsène Alexandre's article on Toulouse-Lautrec published in PAN in October 1893; - the original prospectus for the exhibition of lithographs by Henri de Toulouse-Lautrec at the Musée de Luxembourg (Décembre 1904 - Janvier 1905) in many of the artist's lithographs from 'L'Escarmouche' were published. - Also included is a letter from Ibels dated 21 Fevrier 1906, Manuscript receipt from Hermann Paul, Visiting card of Ibels, Catalogue of an exhibition of Hermann Paul's drawings and printsat Bernheim Jeune c. 1905. 'L'Escarmouche' is one of the scarcest of the periodicals from the French fin-de-siècle and this exceptional set includes the final number - almost always missing from sets - issued two months after the penultimate number. OCLC reports a single complete set, that at the Bibliothèque Nationale in France; sets without the final number are also scarce and we can only trace those at the Swiss Bibliothèque d'Art et d'Archéologie, the National Library of Canada, the National Gallery of Australia and Iowa only. [not in Ray].
METRONOME. DELISS, Clémentine (Editor).
12 vols. Various forms. Large folio (295 x 455 mm) to 8vo (125 x 160 mm). Richly illustrated, with text in French and English. Each issue in original publisher's wrappers. A complete run of the innovative 'Metronome', with additional signed ephemera and the four novels published by the Metronome Press. 'Metronome is an interpretational tool rather than a vehicle for the promotion of artists' works.' (Clémentine Deliss). 'Metronome', founded in 1996 by Clémentine Deliss, acted as an alternative form of art publishing, having no fixed location or editorial team. The issues were regarded more as artworks than publications due to its collective and research-based methodology. Fiction was always a central component of 'Metronome', leading to the foundation in 2005 of the Metronome Press. The first issue of 'Metronome', dated 1996, was an edition of 2,000 copies and published in Dakar. This first editorial read: 'Metronome is the first edition of a new series of intercultural publications produced in Dakar and London. It proposes a debate from within the visual arts, interpolating artists, critics, philosophers, historians, aestheticians, curators, patrons and art enthusiasts.' Clémentine Deliss (the journal's editor), had previously worked as a museum director and curator (Weltkulturen Museum, Frankfurt; Whitechapel Gallery, London) before realising that 'exhibitions were not [her] medium.' Nevertheless, she bought to the role an acute understanding of how to bring together new ideas by artists working in diverse locations: each issue of 'Metronome' was produced in a different place, Deliss taking over an artist's studio and working with them on a one-to-one basis. The contributors to each issue are as follows: ? Metronome No 0, - Pilot Issue. Dakar, 1996. Artists & writers: Joshua Compston; Catherine David; Clémentine Deliss; Joy Gregory; Elizabeth Harney; Laboratoire Agit'Art; Rut Blees Luxemburg; Issa Samb; Penny Siopis; Djibril Sy; El Sy; Paul Virilio. ? Metronome No. 1, London, 1997. Artists & writers: Bili Bidjocka; Rut Blees Luxemburg; Guy Brett; Ery Camara; Andrew Cross; Clémentine Deliss; Tracey Emin; Carl Freedman; Tom Gidley; Edouard Glissant; Susan Hiller; Gary Hume; Jaki Irvine; Greg James; Atta Kwami; Zoe Leonard; Langlands & Bell; Fred Mann; Cathy de Monchaux; Michelle Naismith; Alistair Raphael; Issa Samb; Djibril Sy; Mark Aerial Waller. Metronome No. 2 - Berlin, 1997 (published for documenta X). Artists & writers: Franz Ackermann; Gamal Al-Ghitani; Andrea & Philippe; May Ayim; Sabeth Buchmann; Matthew Collings; Clémentine Deliss; Nina Fischer & Maroan El Sani; Durs Grünbein; Abdoulaye Guissé; Judith Hopf; Rebecca Horn; Johannes Kahrs; Ulrike Kuschel; Via Lewandowsky; Rémy Markowitsch; Carsten Nicolai; Olaf Nicolai; Mohamed Magani; Jakob Mattner; Wairimu Mwangi Thamaini; Frank Thiel; Anatoli Shuravlev; Julian Stallabrass; Annelies Strba; Mamadou Touré dit Béhan; Gavin Turk; Emmett Williams; Slavoj Zizek. Metronome No. 3 - Basel, 1998. Artists & writers: Rasna Bhushan; Ursula Biemann; Peter Brandlmayr; Clémentine Deliss; Marianne Eigenheer; Charles Esche; Ewa Esterhazy; Jean-Paul Felley; Izeta Gradevic; Eric Hattan; Rummana Hussain; Olivier Kaeser; Birgit Kempker; Jörg Lenzlinger; Renée Levi; Via Lewandowsky; Heinrich Lüber; Muda Mathis; Claudia & Julia Müller; Marianne Müller; Tim Neuger; Olaf Nicolai; Peter Pakesch; Dan Peterman; Maria & Michelangelo Pistoletto; Stephan Prina; Martin Prinzhorn; Progetto Arte; Tobias Rehberger; Leila Sadeghee; Issa Samb; Nicolaus Schafhausen; Andrew Shields; Kan-Si; Martina Siegwolf; Gerda Steiner; Reinhard Storz; Peter Suter; Wawrzyniec Tokarski; Annette Ungar; Cyril Verrier; Nebojsa Vilic; Sus Zwick. Metronome No. 4 / 5 / 6 - Edinburgh, Bordeaux, Frankfurt, Vienna, Biella, 1999. Artists & writers: Unai Goieaskoetxea Arronategi; Axford, Dale, Löwenstein & Young; Miriam Bajtala; Yassine Balbzioui; Thomas Baumann; Thomas Bayrle; Stefan Beck; Lutz Braun; Ernst Caramelle; Hsia-Fei Chang; Sunah Choi; Arnaud Dejeammes; Clémentine Deliss; Jean-:Luc Desmond; P.K. Dick; John Douglas; Irene Düring; Steve Duval; Gardar Eide Einarsson; Ewa Einhorn; Charles Esche; Andreas Exner; Roman Fehr; Dirk Fleischmann; Parastou Forouhar; Sophie Fougy; Luca Frei; Hamish Fulton; Gerhard Geiger; Yann Géraud; Simon Girault; Marcus Graf & A.T. Kelemen; Tamara Grcic; Gerald Gerstenberger; Fritz Grohs; Steffi Hartel; Kathrin Höhne; Laura Horelli; Sergei Jensen; Alan Johnston; Franz Kapfer; Anne Kaminsky; Kan-Si; Phyllis Kiehl; Udo Koch; Peter Kogler; Kasper König; Timo Kopomaa; Suwan Laimanee; Elanit Leder; Marko Lehanka; Achim Lengerer; Kerstin Lichtblau; Karen Loughridge; Lyn Löwenstein; Fiona Macalister; Jan Machacek & Radostina Patulova; Pierre Molinier; Joshua Moon; Claudia & Julia Müller; Olaf Nicolai; Angelika Nollert; Christos Papoulias; Andrew Patrizio; Edith Payer; Manfred Peckl; Michael Pfrommer; Kiersten Pieroth; Lisa Pock; Stephan Potengowski; Alan Rankin; Anna Ray; Tobias Rehberger; Mandla Reuter; Michael S. Riedel; Tanja Ristovski; Monika Ruckstuhl; Nicole Schatt; Eva Schlegel; Christian C. Schweitzer; Thomas Seidemann; Anya Sheade; Constant Siméon-Reinhard; Sean Snyder; Andreas Spiegl; Wolfgang Stengel; Misha Stroj; Superflex; Markus Szikszay; Jean-Paul Thibeau; Armin B. Wagner; Mark Aerial Waller; Naomi West; Alexander Wolff; Ekrem Yalcindag; Haegue Yang. Metronome No. 7 - Oslo, Cophenhagen, Stockholm, Bergen, Malmo 2001 (designed by Liam Gillick) Artists & writers: Norris Adoro; Kristoffer Akselbo; Guy Bar Amotz; Anonymous; Theodor Barth; Rikke Benborg; Johannes Bergmark; Bili Bidjocka; Greta Blok; Ina Blom; Karlotta Blöndal; Kaspar Bonnén; Liv Bugge; Maria Candéa; Benson Chiremba; Jacques Demarcq; Alexander García Düttmann; Ewa Einhorn; Annika Eriksson; Alma Erlich; Unn Fahlstrøm; Jo Torkjel Fenne; Luca Frei; William Furlong; Kendell Geers; Liam Gillick; Pierre Giquel; Raymond Hains; Lise Harlev; Molly Haslund; Gad Hollander; Saskia Holmkvist; Karl Holmq
(HfG ULM). Bense, Max et al.
23 vols. Mostly Square 4to. (210 x 198 mm). Illustrated throughout in black and white. Original publisher's printed card wrappers with text printed in black (later issues with hole-punches denoting issue number). An extensive run of the very scarce student journals at the Hochschule für Gestaltung, Ulm. The Hochschule fur Gestaltung Ulm was founded in 1953 by Inge Aicher-Scholl, Otl Aicher and Max Bill. Its importance as a design university is second only to the Bauhaus. Joseph Albers, Johannes Itten, Josef Müller-Brockmann and many other luminaries passed through its doors. The school was closed in 1968 as a result of internal disputes. The present set comprises no. 1 (Marz 1961), no. 2 (April 1961), Nos. 6 + 7 (November und Dezember 1961), No. 8 (Januar 62), No. 9 (Februar 62), No. 10 (Marz 62), No 11 (April 1962), No. 12 (Mai 1962), No. 13 (Juli 1962), No. 14 (Oktober 1962), No. 15 (undated), No. 16 (undated), No. 17/18 (undated, titled 'anpassbares bauen zwei beitrage'), No. 19 (undated, titled 'analyse einer saniareinrichtung - mikrozero im studio f - fertiggebaut in ulm') and nos. 20? 26 (all dated 1964). The initial issues of 'output' contain predominately text and are of a different format (A4 or A5 respectively). Subsequent issues contain mainly illustrations, mostly collaged drawings with the faces of Ulm professors (those of Max Bill & Anthony Froshaug are instantly recognisable). Subjects range from school politics, seminar notices, the student work at HfG Ulm, British industrial design and construction, town planning, research methodologies, art in the machine age, Japanese design, design pedagogy, humorous surveys, diagrams and tables, film screenings and reprinted texts by professors associated with the school (by Max Bense, Margit Staber et al). The set contains duplicate issues of 'output 19' ('analyse einer saniareinrichtung - mikrozero im studio f - fertiggebaut in ulm'), 'output 20' and 'output 21' (with and without the decorative obi band). Several of the earlier issues with brown wrappers have small annotations to the covers to denote the issue no. 'The student journal 'output' opens up another, often more revealing, view of the life and debates of the school.' (Robin Kinross, 'Journal of Design History').
